Because of her use of simplified geometric forms to evoke poetic feelings and sensuality, the Brazilian artist Mira Schendel (1919–88; born Myrrha Dagmar Dub in Switzerland) has often been linked to the Neo-concrete art developed in Brazil as an offspring of and reaction to international Constructivism, placing her on an equal footing with such pioneers as Lygia Clark, Hélio Oiticica, and Lygia Pape. With remarkable consistency, Schendel strove to reach a point where her works verged on sameness without being arid or repetitive. As she once stated in a letter to a critic, she was interested in the notion of “possibility” rather than “necessity” provided by art, with an ultimate goal (paraphrasing Haroldo de Campos)—of “emptying of the form.”

This exhibition, entitled “Continuum amorfo,” presented the artist’s works from the ’60s through the ’80s as a dialogue among the materials she used